Stereo Jewelry and Metalsmithing Data

It is first-person video of a person doing bench jewelry work, recorded with two calibrated cameras, with hand pose and sensor streams alongside. People reach it through several phrasings: jewelry robot training data, stereo gem setting and engraving video, egocentric metalsmithing dataset, or custom fine-motor data collection at scale. They describe one request from different angles. Stereo describes the capture, and MCAP describes the container. They are separate choices.

The site does not state that stereo is already running on these rows. The catalog lists a head-mounted phone or a multiview rig as the capture setup, so a stereo pair is a capture choice agreed in the skill spec and confirmed on a Spec Pilot. The data is human capture by paid, consented contributors, not robot or teleoperation data, so using it for a specific robot still needs your own retargeting step. Firsthand is not affiliated with Foxglove or the MCAP maintainers.

Five, listed in lib/commercial-catalog-data.ts under the Jewelry & Metalsmithing Studio environment in the Creative Workshops & Crafts sector, whose examples are goldsmith bench, gem setting, wire wrapping, soldering, engraving and polishing. "Engraving" is described as cutting letters and patterns into metal with gravers or a rotary tool under magnification. "Gem setting" is described as seating a stone in its setting and pushing or beading the prongs over it with fine tools. "Polishing" is described as polishing metal pieces on the wheel with compounds and finishing by hand. "Soldering" is described as fluxing the joint, heating with a torch and flowing solder to join metal pieces. "Wire wrapping" is described as bending and wrapping wire around stones and beads with pliers to form jewellery.

Engraving, Gem setting and Soldering are rated Hard. Polishing and Wire wrapping are rated Medium. All five are listed as Available on request. The site defines Available on request as work that a spec starts, rather than a running capture stream a spec can join. That is a statement about the catalog row, not a promise of a delivery date. The site states no delivered hours and no delivered stereo footage for any of the five rows, so this page claims none. The first table below reproduces the five rows as the catalog states them.

This page is the stereo and MCAP treatment of the five jewelry rows. The egocentric jewelry and metalsmithing page covers the same five rows as first-person video with ten streams synced under 2 ms, hand pose, depth and action segments, and stereo is not its subject. The egocentric gem setting and engraving page covers two of those rows, Gem setting and Engraving, in more depth. Both are non-stereo pages for the same environment.

This page covers all five rows and puts a calibrated stereo pair and an MCAP file at the centre. It does not replace either egocentric page; a buyer who wants the first-person framing and the five-row catalog detail will find it there. The second table below sets the pages side by side with each status as the site lists it.

No. The "Soldering" row on this page is jewelry soldering with a torch: flux the joint, heat with a torch and flow solder to join metal pieces. The stereo soldering and circuit board assembly page covers two different rows in the Electronics Manufacturing & E-Waste environment, "Circuit board assembly" and "Component soldering", which are board and component work, not torch work on metal pieces.

A Stained glass assembly row in the Glass & Mosaic Studio environment also mentions soldering joints, and a welding page covers metal fabrication. They sit in other environments with other tasks, so this page lists them as neighbours and does not count them as jewelry tasks. A buyer who needs board-level work should use the circuit board page, and a buyer who needs a torch and a metal joint at a bench should start here.

The catalog lists "Phone (head-mounted) / multiview rig" for all five rows. The site does not state a stereo pair for any of them. Stereo applies through the site’s general stereo offer: a stereo pair is a capture choice agreed in the skill spec and confirmed on a Spec Pilot. The site does not state capture at a customer’s own studio, so the setting is agreed in the spec.

The site describes two stereo setups and does not say which one an order for these rows uses. The hard-environments stack is a global-shutter 4K/60 head camera with a 120° lens, two 1080p/60 wrist cameras, a depth sensor at 848×480 and 30 fps, and 200 Hz 6-DoF IMUs. The off-the-shelf stereo head rig, dataset 06, is dual fisheye cameras at 1080p per eye, a 62 mm baseline, per-unit calibration, a 9-axis IMU and hand-tracking output. Camera count, resolution and frame rate for jewelry work are Not stated.

Jewelry work is fine motion: a stone seated in its setting, a graver or rotary tool cutting into metal, pliers closing around a bead, a torch brought to a joint. The hands and a small piece do most of the job, and the catalog itself names "fine tools", "pliers", "gravers" and, for engraving, "under magnification". A stereo pair recovers depth from the calibrated frame pair rather than from a standalone depth sensor, so the geometry sits in the same capture that shows the fingers working.

The site does not state piece sizes or tolerances, so this page makes no claim about how small the work is. A stereo pair adds depth, not a verdict. The site lists no stone type, setting style, finished design or quality label for these rows, and none is claimed. The egocentric jewelry pages already supply the first-person framing; stereo is the addition for a buyer who wants the depth and the MCAP file.

Each row gives a natural cut. Engraving cuts letters and patterns with gravers or a rotary tool. Gem setting seats the stone and then pushes or beads the prongs over it, so seating and closing are different steps. Soldering runs from fluxing the joint through heating to flowing the solder. Wire wrapping bends and then wraps. Polishing runs on the wheel with compounds and then finishes by hand.

A spec that says "set a stone" gives one long action segment. A spec that names seating the stone and then pushing or beading the prongs gives a sequence you can slice by step. Whether each of those is its own segment, and whether a piece or a whole session is one episode, is a spec decision, not a default. The site does not set an episode length or a piece count. Contact events can mark when a finger or a tool meets the piece, where the spec asks for them.

At a jeweler bench the piece is small and held close, and the fingers, the pliers or the graver can sit between it and the camera. The site states that the hands occlude the work and that fingers disappear behind objects. That is why each hand joint carries a visibility flag, why contact events mark when the hand or a tool meets the piece, and why instance masks are recorded per frame.

It also states that reach and grasp frames are where blur and occlusion show up, and the head camera in the hard-environments stack is global-shutter, which avoids rolling-shutter skew. How often a small piece leaves the view at a bench is Not stated. If your policy depends on seeing a prong close over a stone, say so in the spec, ask for wrist views or a multiview angle, and settle it on a Spec Pilot.

The site states that glare-heavy and low-texture scenes make single-frame depth worse, and that depth degrades on wet and reflective surfaces, with confidence maps masking low-confidence regions. Polished metal and a polishing wheel are plausible cases, but the site does not say whether metal or stones count as reflective for this purpose or how depth behaves on them. A lighting setup for the jewelry rows is Not stated.

The Engraving row says the work is done "under magnification". Whether a magnified view is part of the recording, and what magnification equipment is used, is Not stated, so raise it in the spec if your policy needs it. Where a program needs a specific layout, lighting or background, that goes into the spec and is checked on a Spec Pilot. An episode is rejected when more than 35 percent of depth pixels in the manipulation region are invalid, and for this job the spec decides what the manipulation region is at each step.

This page makes no torch, flux, heat, chemical, injury, safety, liability or certification claim: all of those are Not stated. The Soldering row names a torch and no more. The site states no torch type, solder type, temperature or safety practice, no personal protective equipment rule and no studio-specific bystander rule, so how other people at the bench are handled is settled in the spec.

For every delivered episode the site states that faces, plates and screens are detected and irreversibly blurred at ingest, that a reviewer confirms the result before anything ships, and that footage that cannot be de-identified is discarded. The anonymization record ships with the data, an undocumented bystander is a stated reject criterion, and every episode links to a signed contributor release. Mirror reflections and posted signage are not listed as blur categories, so this page does not claim they are blurred. This is not legal advice, and the executed agreement controls.

MCAP is an open source container file format for multimodal log data, supporting multiple channels of timestamped pre-serialized data. It is serialization-agnostic, so messages can be Protobuf, DDS (CDR), ROS, JSON and more. Its design is row-oriented and append-only, it stores schemas alongside the data, and it offers an optional index plus optional LZ4 or Zstandard chunk compression.

Reader and writer libraries exist for C++, Go, Python, Rust, Swift and TypeScript, and the mcap CLI can inspect, merge and split files. The foxglove/mcap repository is MIT-licensed; that is the MCAP project licence, not the licence of a Firsthand delivery. The MCAP hub page and the glossary entry cover the format in full.

Firsthand offers MCAP delivery, and dataset 06 is stated as shipping as MCAP. For these rows the site states hand pose, a stereo-derived depth stream with confidence maps, IMU, contact events, action segments, per-frame instance masks and one task instruction per episode elsewhere. What it does not state is which of those are channels in an MCAP file, how they are named, what encoding they use or at what rate.

No topic name, message schema or rate is stated on this page, and none should be assumed. Name the streams that matter in the skill spec and confirm them on a Spec Pilot batch. The fourth table below sets each stream beside what the site states about it.

Hand occlusion by the piece and the tool is the first risk, under the visibility flag above. Weak depth on glare-heavy or reflective surfaces is the second, and the behaviour on metal or stones is Not stated. Calibration is measured at the start and end of every session under a 0.28 px RMS gate, and an episode is rejected for a sync breach beyond the ceiling for more than three consecutive frames, for the manipulated object out of frame for more than 15 percent of the episode, for an undocumented bystander or for a mismatch against the named skill spec.

A reject log ships with every batch, and rejected items are recaptured at the provider’s cost. The fifth table below lists the failure modes beside what the site states.

The October 2026 off-the-shelf catalog lists ~324,800 hours across 18 datasets, of which stereo is ~64,800 hours across 9 datasets. The site names no jewelry or metalsmithing dataset among them, so this work is custom collection, not an off-the-shelf purchase. The off-the-shelf stereo and hand-tracking video can still show the format before you write a spec.

It is custom collection at scale through a network of thousands of capture providers, for a consistent, recurring data flow to labs. Where coverage is deep, the median time from signed spec to first validated batch is a median of 48 hours; where it is thin, turnaround runs three to four weeks. The site does not say which applies to jewelry work, so the timeline is quoted against your spec. Collections are billed per validated hour, and rejected episodes and recaptures are never billed.

Describe the pieces and steps and where each starts and ends: cutting letters and patterns, seating a stone and closing the prongs, fluxing, heating and flowing solder on a metal joint, bending and wrapping wire, and polishing on the wheel and by hand. Say whether an episode covers one piece, one step or a whole session, what counts as the object and what counts as a finished step, the privacy rule for the studio, and name the variation your pipeline is missing. Then name the streams you want in the file, the topic naming and message encoding your reader expects, whether calibration ships inside the file or beside it, and whether MCAP is the only delivery or sits beside RLDS, LeRobot or WebDataset.

Most programs begin with a Spec Pilot, a small first batch that proves the spec and accept criteria on real footage before you scale. The sixth table below shows what each spec element decides.